Fzotic (Bruno Fazzolari) (2015)

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Seyrig by Bruno Fazzolari

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About Seyrig by Bruno Fazzolari

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Fzotic (Bruno Fazzolari)
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Bruno Fazzolari says:

Inspired by the aldehydic motifs of late ‘60s and early ‘70s perfume, Seyrig centers on an artistic interpretation of the Syringa flower, a relative of lilac that resists olfactory extraction. Crisp aldehydes are draped over rich rose de mai and ylang ylang absolutes with a foundation of oakmoss, resins, and musks providing a spicy finish. This is a bold, statement scent that bridges perfume’s past with the present.

Fragrance notes.

Reviews of Seyrig by Bruno Fazzolari

There are 9 reviews of Seyrig by Bruno Fazzolari.

Seyrig by Bruno Fazzolari (2015) was a short-lived experiment that forseeably wouldn't pan out, but that's not the point of artisanal perfume is it? This one-man operation makes bold muse-tickling perfumes that don't always guarantee being wearable as functional fragrance, but never fail to prove interesting. In the case of Seyrig, we have a thoroughly modern perfume seeking to emulate in homage the classic 1960's and 1970's green aldehyde floral chypres that in the modern era are impossible to make as they were due to IFRA restrictions on materials, but Seyrig doesn't try to recapture the exact nature for that would prove impossible, settling for referencing it's subject instead. How is it to smell a modern perfume that only tries to reference a vintage style rather than re-create it with modern materials? Well, there is obvious cognitive dissonance as your brain sifts through what the perfumer says the perfume is meant to resemble versus what you actually smell there, meaning this is too "new" for the vintage folks but too "old-fashioned" for the trend conscious. The "uncanny valley" created by Seyrig is the whole point of Seyrig, but wearing a perfume that is meant to create confused static between two invisible boundaries of the "modern" and "the vintage" aesthetic by directly buttressing them without blending them feels a bit too much like an "statement" for my tastes. Granted, I like perfumes that make a statement, but when that statement gets in the way of me being able to make my own mind up about something, it feels like Yoko Ono interfering with The Beatles if you catch my drift.

The marketing blurb Fazzolari had when producing Seyrig spoke of capturing the essence the syringa flower, and adjacent to the lilac that defies exctraction (much like muguet), and must be simulated with other ingredients. This is yet another level of obfuscation Bruno throws at the wearer of Seyrig to keep them in that "familiar yet alien" territory the perfume is meant to evoke. The opening is very sharp soapy aldehydes, not the big blooming kind of perfumes from the mid-century or the metallic ones you often see in the modern day, so indeed this starts off in the 70's. Ylang-ylang, muguet, iris, and may rose continue in a soapy clean floral tradition that also rings true of many polite women's fragrances from the late 60's, when perfumes got really conservative briefly just prior to the huge musk and tomboy galbanum explosion of the following decade. Syringa reads as a touch of lilac amid all the other blended white florals to me, so while I'll say it's there, I think it fails to become the focus as stated by the market copy. Into the base we find all the "new" concepts rushing to the fore as if tagged in during a wrestling match, with some stiff dry woods, vetiver, and clean 90's style musks recalling things like Quartz pour Homme by Parfums Molyneaux (1994) with a narcissus/daffodil touch. Oakmoss is there to legitimize the chypre accord but the finish is all about woods, soap, and a shrill chemical edge that waxes the 1960's/1970's vibes until they shine like a mannequin at Madam Tussauds. Wear time is all day and potency is off the chart, but if you wear something like this, it feels best in spring settings.

What sets this apart from the classic green aldehydes chypres it pays respects to is how inverted it is. The part of the scent with the most fidelity (the florals) is ironically the most-blended and hard to pick apart, while the part of the scent most-blended (the aromatic base) is instead the most separated note-wise, while the aldehydes in the top seem neverending. Most of the classic examples like Givenchy III (1970) have a brief explosion of aldehydes and green notes but eventually give way to a singular floral tandem of jasmine/rose or something else like carnation or iris that float on a bed of buttery-smooth oakmoss, sandal, and usually an animalic of some sort if not a chemical leather note, amber, or even just synthetic musk like ambrette. With Seyrig, the aldehydes punch you in the face and keep punching you while the congealed white floral accord hides in the background, eventually coming forward only late in the wear once the sharp woody base joins in the beatdown. Oakmoss does what it can here but there isn't enough of it and without anything else like musks or amber to pull it together, Seyrig feels like a chypre mastered by Rick Rubin during the "Volume Wars", all dynamics compressed for the sake of volume. Still, Seyrig got us all thinking, so mission accomplished I suppose. If you're able to find a surviving example or if Bruno brings this back, Seyrig is worth checking out as a novel experience, but I don't see it making regular rotation use in a wardrobe. Neutral.

The aldehydes here remind me of a blanket, in winter. A warm and fuzzy blanket pulled fresh from a clothes dryer. A cotton blanket. Why? Don't know. Perhaps the combo of aldehydes, rose, and ylang ylang do this. I get no mandarin at all unless it is part of the whole. I begin to smell lilac, faint lily of the valley. The latter of which is rather green. Perhaps too, the "blanket" smell comes from the lilac - syringe. (I'm over-analyzing.)

Then, I get strong iris; both the petal and the rooty types. Musk appears, clear and clean. Mossiness is slight. Seyrig is creative. It is sublime.

Iris and musk notes seem to last the longest, with hints of lilac.

An edgy aldehyde, with a very very sharp citrus note. Not like bergamot, but like an unripe grapefruit rind. Sharp and piercing. There is a note of waxy iris, and oris root, but nothing that makes it stand out. More of a feminine than a unisex.

Aldehydes, florals, musk.

Seyrig starts with a heady blast of aldehydes that is at once soapy and refined. There soon comes to the fore an assorted bouquet of flowers where it is difficult to discern individual contributors, though there is a hint of rose. This floral accord persists for a significant period, with a soapy, clean, green temperament, and an attractive cool elegance. The late dry down reveals a slight warmth, and is soft, musky, and slightly mossy.

While Seyrig is undoubtedly well crafted, it seems to replicate a common style of perfumes - notably vintage aldehydic soapy florals. This is a modern take characterised by lack of animalics, absence of spices, and a typical refinement that one experiences in Fazzolari's creations. However, Seyrig is also somewhat straightforward and not as innovative or compelling as the majority of Fazzolari's range. The end result comes across as a simple makeover of a pretty, but a little tired (and, sadly, somewhat forgotten) genre.

Recommended for lovers of aldehydic florals.


Dear Mr. Fazzolari--

I'm writing this review to beg you: please bring back Seyrig. I foolishly waited until today, April 26 2017, to finally get around to my sample. Then I fell head over heels in love with it. And then I discovered that Seyrig was a limited-quantity only production, and that there is no more to be had for love nor money. I shed actual tears over this--something that I have never done over a perfume before.

I love aldehydes, and I love ylang-ylang, and the combination of these in Seyrig is transcendent, somehow rich and buttery and light and fizzy all at the same time. Wearing Seyrig feels like being enveloped in a delicate mousse. There are only two other perfumes I know of that communicate a similar sensation--Chanel No 5 and Chanel No. 22, both famous perfumes known for their masterful treatment of aldehydes. Seyrig belongs in their company; it's that gorgeous.

Having experienced Seyrig, and having been left bereft and sleepless by the discovery that it's all gone, all I can do is write this passionate declaration of love, and beg for its return. (Well, that, and explore your other perfumes, of course, which I will be doing toute suite). I have sent you a message through your website, but I feel like going public might increase the chances that somehow, someway, I won't have to go through life without a substantial quantity of this gorgeous perfume. Please consider taking pity on an abject lady in Texas.

With my most sincere thanks,


P.S. If there is anyone out there in the perfume universe who can bear to part with some of their Seyrig, please consider helping a sister in her time of need.

P.P.S. 5.12.2017
This review worked.

Mr. Fazzolari did, indeed find a bit more Seyrig in his vault, so I will now have one precious bottle in my possession--but I doubt that will be enough to see me through the end of my life, so I'll be happy to take more. And a couple of very nice people reached out to help. Thank you and much love to everyone who did! XxOo.

First wearing I thought, here's another scrubber.
Second wearing feel the music.
This is a piece of art!! Think my reaction, to this is because Bruno is inspired by natural beauty, rather than dark, depressive and plastic beauty.
Entrancing is the sharp and dimensional citrus set against a textural Moss and Narcisse- like bitterness. A drydown to a buttery savon.
Unlike others I find this, totally wearable.
Like Jimmy this is bottleworthy.
Bruno is such a gentleman. He sent a handwritten note, thanking me for the order, with a hope that I would love the scents.
Well Bruno. I love Seyrig and Jimmy. The Narcisse, well, it's a dream!!
A very nice showing of buttery Oakmoss.

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